Southern Roots: The Blues and R&B MUSC-21600: The Art of Rock Music Prof. Freeze 31 August 2016 Black Popular Music of the Early 20C • Begins largely outside of mainstream pop • Exception: popular blues • By mid-century, becoming more integrated • The Great Migration • “Race” music (1920s–late 1940s) • Popular music marketed to black urban audience • “Rhythm and Blues” (late 1940s–) • Regional black radio (1950s) • New R&B indie record labels • Sun (Memphis), Chess (Chicago), King (Cincinnati), Atlantic (New York) • Bottom line: R&B synthesized southern folk traditions and urban experience The Blues • Genre = type of music defined by a shared tradition and set of conventions • Conventional categories (higher and lower order) • Basic traits • Form: 12-bar blues, often with aab phrasing • Blue notes: lowered scale degrees 3, 7; flat inflections; slides • Call and response (between voice and instrument) • Vocal quality: rough, gritty • Popular/classic blues • Black female singers • Bessie Smith, “Empress of the Blues” • Composed sheet music (like in Tin Pan Alley) • Texture (= combination and relative hierarchy of timbres) • Jazz piano or small combo • Tame lyrics, often topical to South • Ex. “Back Water Blues” (Bessie Smith, 1927) The Blues • Rural/country/Delta blues • Black male singers • Many from Mississippi Delta • Improvised tradition • Texture: solo vocals and guitar accompaniment • Bottleneck for slides • Raw lyrics, often autobiographical • Rhythmic vitality • Robert Johnson (1911–1938) • Hugely influential on blues revival in 1960s U.K. • Life shrouded in mystery and legend • “Cross Road Blues” (Robert Johnson, 1936) • 12-bar blues (aab lyrics + harmonic changes), but flexible phrase lengths • Rhythmic sophistication • Emphatic strumming prefigures electric guitar styles in rock • Expressive intensity of guitar, voice • Ambiguous lyrics with emphatic sense of emotional, spiritual loneliness Jump Band Music • Also: jump blues • First commercially viable category of R&B • Flourished just after WWII • Roots in swing band music of 1930s, 1940s • Downsized swing band: rhythm section (bass, piano, drums) and saxophone (or brass) • Fast tempos, swung/shuffle beat • “Choo Choo Ch’ Boogie” (Louis Jordan, 1946) • Stylistic mix • Itinerant train rider (country) • 12-bar blues (blues) • Texture, shuffle beat (swing band) • Boogie-woogie piano (country, jazz) • Fast, repeated pattern in left hand (bass notes) Urban Blues (R&B for the Grown-Ups) • Muddy Waters: from Mississippi Delta to Chicago • Chess Records (Chicago) and Willie Dixon • Chicago (Electric) Blues • Texture: small group points toward core rock band • Drums, rhythm guitar, piano + electric lead guitar • Also amplified harmonica (“blues harp”) • Lyrics oriented toward black adults • Drawing on rural culture of South or urban experience in North • Rough-edged emotional directness (growls) • Raw, technically unsophisticated sound • Example: “(I’m Your) Hoochie Coochie Man” (Muddy Waters, 1954) • Modification of 12-bar blues: 8 + 4 + 4 • Lyrics: supernatural sexual prowess drawing on rural black culture of South • “Hound Dog” (Big Mama Thornton, 1953) • Rough, raspy vocal quality • Blues-style guitar rhythms, emphasizing blue notes • Laid-back rhythmic feel (loose hand-clap backbeat) • Lyrics: playful, sexually charged; empowered woman and good-for-nothing man Latin American Influences • “Bo Diddley” (Bo Diddley, 1955) • Distilled song to its rhythmic essence • Dispensed with 12-bar blues form • Flexible, irregular phrase lengths • No harmonic changes! • Influential on early rock, British blues revival • Latin American influence • Bo Diddley beat • 1 a (2) & (3) & 4 • Or: 3+3+3+(2)+2+2+(2) • Derived from clavé beat (3+2, 2+3) • Emphasized by maracas • Thick, reverb sound • Lyrics: play on nursery rhyme “Hush Little Baby” Doo Wop (R&B for the Kids) • Doo Wop (vocal harmony groups) • Smooth, four-part vocals (lead sings falsetto) • One-hit wonders • Lo-fi sound: distorted, poorly balanced, ragged recordings • Sign of energy and vitality • “Have Mercy Baby” (Billy Ward and the Dominoes, 1952) • 12-bar blues • Driving beat • Gospel singing style • Clyde McPhatter.